Author Archives: Matt

Looper

After reviewing Mysterious Skin yesterday, I was inspired to buy and rewatch Looper. I think this movie was high profile enough for me not to bother with my usual summary of the plot so I will just offer a reminder that this is the one where Joseph Gordon-Levitt (the connection to Mysterious Skin in case you were wondering) plays a specialized hitman who must hunt for his future self (Bruce Willis) who has been sent from the future for assassination.

If you haven’t already seen it, I highly recommend it. Director Rian Johnson (Brick) creates a version of the future that is different enough from our present to be interesting but similar enough to be relatable. Because people are sent from the future just to be executed, not to change the past, Looper even avoids most of the logic problems that are usually par for the course with time travel movies. Okay, there are still a few “yeah, but wouldn’t…” moments but maybe that’s even part of the fun. JGL apparently spent a lot of time watching old footage of a younger Willis and, with the help of some talented make-up artists, the two actors do a better job than you might expect of being convincing as the same guy. Oh, and you have Jeff Daniels playing a gangster. So, see it.

But I’m mostly writing this not to the people who haven’t seen it but to those who have. Or at least to those who have either seen it enough times or seen it recently enough to remember what I’m talking about. Please, please, explain that ending to me! When I first saw it back in 2012, I promised myself that if I saw it again, I’m a smart guy- I could figure it out. But I just rewatched it and I still don’t understand how the last five seconds could possibly fit. So, if you have any thoughts, please leave them in the comment section.

Mysterious Skin

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In the early 1980s, two 8 year-old boys are molested by their baseball coach. They react to the trauma in very different ways. Neil, who had been abused by his coach repeatedly, grows up identifying with his abuser, carrying around some secret pride that he was coach’s favorite. At the age of 15 (played by Joseph Gordon-Levitt), he starts working as a prostitute. Brian, on the other hand, a quieter and shyer kid than Neil, grows up having no memory of his abuse and, as a teenager (played by Brady Corbet), has spent years fascinated by stories of alien abductions, convinced that he himself had been abducted. Searching for answers, he tries to track down Neil hoping he can explain the gaps in his memory.

Mysterious Skin is not for everyone. Many will be turned off just by the quick synopsis that I offered in the first paragraph. It deals unflinchingly with subject matter (child abuse, prostitution, and rape) that most of us don’t want to think about in such graphic detail.

Many of us can forgive a mediocre action movie or convenient twists and lazy writing as long as they keep us entertained. For most people, though, if we’re going to sit through a movie with subject matter like this, it had better be GREAT. Which this isn’t. Not everything works, Corbet’s performance as Brian rings true but a subplot involving an alliance with 24‘s Chloe, who plays a reclusive 32 year-old with an alien abduction of her own, is particularly unconvincing.

But director Gregg Araki gets most of the details right. This film is refreshingly, even brutally, honest about the traumatic impact of childhood sexual abuse. Joseph Gordon-Levitt’s half of the film is particularly convincing. JGL has made a career of playing tortured young men and he’s at his best here. Neil is charming but unreliable, constantly letting down and pushing away the people that care about him. He seems to have a bit of a death engaging in increasingly risky and unsafe sex. We see a gentler, more compassionate side to him though when he finally reconnects with Brian, leaving us with a glimmer of hope that maybe there’s hope for these two characters after all, quite a feat for a film that is a mostly bleak and punishing experience.

Force Majeure

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A Swedish family vacationing at a ski resort in the French Alps are enjoying a nice lunch at a restaurant admiring the beautiful view of the slopes and eating food off each other’s plates. Tomas is a workaholic and spending a little too much time on his phone but overall not a bad family trip so far. Suddenly, a “controlled” avalanche begins to get a little too close for comfort. At first, Tomas reassures his nervous wife Ebba and his panicking son that everything is under control. Then, the avalanche is WAY too close for comfort and Ebba instinctively runs to protect her son and daughter while Tomas instinctively grabs his phone and his gloves, pushes a stranger out of the way and gets the hell out of there. Within seconds, it becomes clear that no one was in any real danger and with some nervous laughter, everyone is enjoying their meals again, with Tomas sheepishly returning to the table as if nothing had happened.

What happens from there is best seen for yourself than read about in some review so I will not give anything away except to say that you should not miss Force Majeure, a strong candidate for this year’s Best Foreign Language Film Oscar. What happens at the restaurant shakes this family to the core and no one knows what to say or what to feel. Some of the best scenes involve other couples listening to Tomas and Ebba’s very different versions of what happened. Their story seems to wreak havoc on anyone who hears it, leaving them wondering what they (or their partner) would do in the same situation.

This is a thought-provoking film that is a must-see even if just for the fun of arguing about it later. I couldn’t help but put myself in the shoes of every character, wondering what I would do in their ski boots (definitely not run).

See Jay’s review of Force Majeure here, and Sean’s over here, and then tell us who’s right!

Rosewater

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The Daily Show’s Jon Stewart makes his directorial debut in this drama based on the memoir by Maziar Bahari, an Iranian-Canadian journalist who, after a Daily Show appearance that was misinterpreted (perhaps intentionally) by the Iranian authorities, was imprisoned for four months on suspicion of being an American spy.

This is not at all the kind of film I would have expected from first-time director Stewart and, as an admirer of his show, I am proud of him for making it. Unfortunately, the road to a bad movie is all too often paved with good intentions and it really is too bad that Rosewater isn’t very good.

Bahari, played by Gael Garcia Bernal, is locked up, beaten, and tormented but even when depicting such obvious injustice, Rosewater rarely inspires much outrage or any emotional reaction at all. Not that it doesn’t have its moments. Bernal actually plays the part quite well. In an early scene, Bahari, at first reluctant to rock the boat too much when in Tehran to cover the 2009 elections, reaches a turning point when he makes a decision to continue filming as authorities open fire on a group of angry protesters. For a second, you can see that his instinct is to make a run for it but, with a look on his face that says “okay, I’m a part of this now” and raise his camera to continue to bear witness. It’s a nice moment and there are others like it, where Bahari continues to make decisions to speak the truth that could put him at risk, even though we can tell that he’s scared.

But way too often, the flow is disrupted and the impact is lessened by amateurish flashbacks and scenes of Bahari alone in his cell having imaginary conversations with his father. Worse though are Stewart’s frequent attempts to lighten the mood with some humour, which suggest a lack of confidence as a first-time filmmaker. These scenes feel more like the jokes I make on a first date that I’m afraid is not going well at all than the political satire I would have expected from the host of The Daily Show. Stewart’s heart seems to be in the right place and he clearly has a lot to say so, with a little more confidence and experience, who knows what he can accomplish as a filmmaker?

The Goodbye Girl

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In 1977. A 30 year-old Richard Dreyfuss became the youngest ever to win the Oscar for Best Actor, a record he held until 2003 when a slightly younger Adrien Brody dethroned him. He was awarded this honour not for Close Encounters of the Third Kind, which was released that same year and still considered a classic, but for this rom com (I hate this movie already for making me use that term) from playwright Neil Simon. Marsha Mason plays Paula who arrives home to discover that, not only has her actor boyfriend left her, but he’s also has sublet the apartment to another actor named Elliot (Dreyfuss), leaving her and her ten year-old daughter homeless. Paula and Elliot reluctantly agree to share the apartment and they clash for awhile before falling in love.

What it’s lost with age. As soon as The Goodbye Girl begins, it ffeels old. The score, dialogue, and hammy acting all seem to come from a 70s cheesy sitcom rather than a Hollywood classic. I’ve always admired Simon as a writer and, when I don’t feel like cooking, I can sometimes be found in my local Indian restaurant reading one of his plays while I eat- often laughing out loud. But his lines are too often fumbled by the actors here and it’ll only be when playing some of them over in my head moments later that I realize that it was actually a great line.

What still holds up. Honestly, not much. Things pick up a llittle when Elliot shows up and, whether or not the performance is Oscar-worthy, Dreyfuss has a lot of fun with the dialogue and is almost always interesting to watch. Even he, though, is sometimes a little over-the-top for my taste. The funniest lines and the funniest moments are all his though. Watching him attempt to reluctantly play Richard III as flamboyantly gay is probably the highlight.

Bottom line. I hate to pick on a movie that is so old and inoffensive but I can’t see The Goodbye Girl having much to offer a modern audience. I don’t disagree with the Academy for giving Dreyfuss the Oscar that year, I just wish it was for Close Encounters.

The Raid 2

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To sum up my review of The Raid: Redemption, I loved pretty much every minute of it. Even after seeing it, I had no idea that it would even be released in North American theatres, let alone become so successful that they would make The Raid 2.

The sequel is, in many ways, a very different movie from the first. Having finally fought it’s way out, the series is no longer limited to the confines of a broken down high rise and we get to follow Rama through the streets of Jakarta as he continues his mission to take down the local underworld. Rama is now deep undercover and in completely over his head. While The Raid used the simplicity of its claustrophobic story to its advantage, The Raid 2 tries to be an epic crime story as Rama gets caught in the middle of turf wars and double crosses from within the crime family he’s investigating. Director Gareth Evans has a lot more characters to juggle this time around.

With all of Jakarta at its mercy this time, The Raid 2 is predictably even more outrageous this time around. If there aren’t enough hammer-wielding hot deaf female assassins for you in the movies you’ve been watching, you’re in luck! And- bonus!- her interpreter is a baseball bat-wielding hitman!

Evans has not lost his touch directing the fights and he proves just as capable with car chases and uses more elaborate set pieces that would not have been an option before, given the limitations of the first film’s settings. You can make a strong argument that this is the better of the two movies. It’s more ambitious, more violent (which is saying a lot), and left me feeling even more exhilaratied by the end. More conservative fans may find some of the final fights about a minute too long (unlike in The Raid, which was careful not to overstated it’s welcome) but you won’t hear me complaining. Movies that are as well-made as this are almost never this much fun.

The Raid: Redemption

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It was September 2011 and it was my first time at the Toronto International Film Festival. I decided to take a chance on an Indonesian martial arts film that was then just called The Raid. It wasn’t like any of the other premiers that I had been to. It started at midnight with an energy that felt like we were waiting for a concert – not a movie- to start. When the film’s stars took the stage to introduce it, many audience members were more eager to see them fight than speak, with some calling for them to “kick him in the head”.

The plot of The Raid: Redemption, as it’s known now, is as simple as it gets. A Jakarta Swat team raids a high rise crack house where an untouchable drug dealer is hiding out. Things- who would have guessed- go horribly wrong and the building’s residents kill all but a few cops, including a rookie named Rama, who will need to fight their way out with machete, axes, feet, fists, and elbows. (Everyone seems to run out of bullets quickly in this movie).

It’s not much but it’s all the story we need. The movie spends almost all its time dedicated to some of the best fight choreography I’ve seen in a long time. More importantly, director Gareth Evans knows how to shoot it. I’ve seen way too many action movies from disorganized directors who don’t known where to put the camera or editors who cut away too quickly to the point where it’s hard to tell who’s roundhousing who. Not here. Evans knows exactly what’s going on in every fight and wants us to too. It pays off. The bloodthirsty crowd at the world premiere cheered for every broken bone, every face smashed into a wall, and every throat that’s slit.

Many will be turned off by the violence. But for those with a bad case of bloodlust, first- if you get the chance to catch a Midnight Madness screening at Tiff, take it. Second, see this movie. The adrenaline will stay with you all day.

American Graffiti

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In 1973. After sitting on the finished film for six months, Universal finally got around to releasing this relatively low-budget surprise hit that was directed and co-written by a young George Lucas. Different in almost every way from the films that Lucas would later become known for, American Graffiti is inspired by memories of his youth cruising around Modesto, California while trying to pick up girls. Set in 1962 during the last night before two high school grads head off to college, four friends spend one last hilariously wild night driving around the strip trying to get laid, find someone to buy beer for them, and give a clingy 12 year-old the slip.

What it’s lost with age. Even what’s dated kind of works. Even at the time, the clothes and expressions were from what Lucas thought of as a more innocent time. How can you not love a movie with lines like “Don’t you think the Beach Boys are boss?” and “Go kiss a duck, marblehead!”? I do have to admit though that it was bizarre watching Harrison Ford as the cocky cowboy looking to race the fastest kid in town.

What still holds up. Pretty much everything. Lucas apparently wrote the script around the rock and roll music of the 50s and early 60s and the classics play throughout the entire movie through car radios and at the sock hop. The film follows several characters throughout this one night on the strip and the stories are constantly interesecting as our heroes run into each other often yelling through car windows. Everywhere they go, they seem to run into someone they know and before long the strip starts to feel like home for us too. This style keep s the pace as fast as an Indiana Jones film.

Nice surprise for modern audiences. George Lucas did make one classic film that he didn’t eventually ruin with prequels and sequels.

Bottom line. You can feel Lucas’ love for this time and place in almost every scene. But you don’t have to be nostalgic for the music, cars, and styles of the 50s and 60s to love this movie. It’s like Superbad with less dick drawings. I can’t think of many teen party movies that were made by such a celebrated and talented filmmaker. Rent it.

Frightfest 2015: Halloween (1978)

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Co-writers John Carpenter and Debra Hill couldn’t believe that there had never been a horror film simply titled “Halloween”. Taking advantage of everyone else’s missed opportunity, they produced a film set almost entirely on Halloween night that captures all the thrills and chills that we’ve come to expect from our favourite halloweens.

When he was six years old, Michael Myers stabbed his big sister to death. Dr. Sam loomis (Donald Pleasence) tried to treat him but saw nothing but limitless evil in his eyes. fifteen years later, Myers has escaped from his institution and is headed back to the quiet street where it all began.

As Laurie, Jamie Lee Curtis earned the title Scream Queen and has never really been dethroned since. Working with director John Carpenter, she strikes a delicate balance between being scared shitless and being a fighter. Myers is still scary today, sporting a mask which was in reality nothing more than a Shatner mask with white spray paint and wielding a really big knife. the concept is simple enough to be ageless.

Halloween has some good scares but there is no blood so it’s perfect for those who love a good spooky story about a serial killer on the loose but can’t stand the gore that is so typical of these kinds of movies today.

Frightfest 2015: The Babadook

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Amelia (Essie Davis) has never had the chance to grieve the death of her husband 7 years ago. Because her beloved Oscar died in a car carsh while Amelia was in labor, processing her trauma had to take a back seat to raising a newborn all by herself. Now about to turn 7, Samuel (Noah Wiseman) is having some trouble fitting in, unable to shake the feeling that his mom will one day leave him and develops an obsession with protecting him and his mother from monsters.

Oh, and there’s a monster in his closet.

What starts with a creepy children’s book that mysteriously appears on his shelf, (“If it’s in a word. Or if it’s in a look. You can’t get rid of… The Babadook”), escalates into a full-blown assault on Amelia’s psyche. The more The Babadook gets under her skin, the more dangerous Amelia becomes to her terrified son.

The Babadook, the feature debut from director Jennifer Kent, is a supernatural thriller in the tradition of The Shining. Kent’s film, however, separates itself from Kubrick’s classic in two important ways. First, the dynamic between mother and son and the themes of trauma and loss are more psychologically astute here, with character arcs that would still be satisfying even without the horror element. Second, with Amelia, Davis- as she herself has pointed out- has to play both Shelley Duvall and Jack Nicholson to Samuel and she plays them both perfectly. Her descent into madness is is captivating and played with a restraint that- as much as we all love Jack- has never been his strong suit.

The Babadook will get under your skin. Filmmaker William Friedkinhas apparently stated that he has never seen a movie more terrifying. And he directed the Exorcist, so…